Background
A common feature on the websites of church and faith-based organisations is a statement of faith. Targeted mainly at other believers, the aim is to assist people in understanding what beliefs the writers actually have about the various aspects of the Christian faith. These statements are more common on Protestant sites but I would argue that even Catholic and Orthodox churches should have some version as there is a degree of internal diversity a statement of affirmation or ‘variance’ would clarify. I would also argue that other faith organisations, ‘anti-faith’ organisations and those that profess neutrality on a range of topics (not just religious issues) should have some version of their position posted on their websites. It would save a lot of confusion and pretensions to claims of non-bias.
It is obviously possible to glean a lot of info on how a church or faith organisation views a variety of issues from what is said in these statements, but it is also possible to understand much from what is not said or said in an unclear or vague way. Further, much can also be gleaned from what might be called the ‘distribution of concerns,’ how much space is allocated to different parts of the statement. For example, I have seen statements of faith that reserve fully half of the space to outlining fine point details on the nature of the end times.
The following essay was written when I was doing my undergraduate degree to answer the question: “Discuss the role of symbolism in apocalyptic literature with particular reference to the Book of Revelation.” In the back of my mind was this imbalance based on a flawed reading primarily of the Book of Revelation. The original Harvard referencing and notes have been preserved only some light editing for this context and the odd glaring grammatical errors.
Introduction.
In the New Testament canon, the Book of Revelation is manifestly different to the other writings. However, is it unique literature? The simple answer is no, it stands in an identifiable tradition of writings that stretches back to Daniel and possibly as far as Zechariah (Hanson, 1976a:28). Many writers have tried – and continue to try – interpreting the symbols in Revelation and other apocalyptic literature. However, the question also needs to be asked why the book is written in this way with its visions and symbolism? What is the function of symbolic language in Revelation and similar writings?
Definitions.
A symbol is “something that represents or stands for something else usually by convention or association” (Wilkes and Krebs, 1991:1561), and symbolism is “a system of symbols or symbolic representation” (Wilkes and Krebs, 1991:1561). Our question here is what purpose for the author was there in using a system of symbols rather than ‘plain language.’
There there seems to be no real agreement amongst scholars on a definition of these writings, but apocalyptic is so called from the Greek word apokalypsis, meaning “unveiling” or “revelation” (Rowland, 2005:51). Some of the characteristic features include animal symbols and a detailed angelology and demonology (Rist, 1962:160). I will make no attempt to “decode” any of the symbols but focus on the purpose.
A Faith Suppressed.
A clue to the reason for the veiled nature of the Revelation may lie in the environment it was written: it is generally believed that John was writing during a time when Christians were being persecuted, either directly, or for other reasons. [1]
As a result of tensions with the state and those around them, apocalyptic literature generally has the status of “underground literature” (Klauck, 2001:693). A function of the symbolic language is to keep the identities of enemies hidden else “things might get dangerous for author and reader alike” (Klauck, 2001:693). Although the anti-Roman point is fairly apparent, the symbolism may have acted as a deterrent to reading by ‘outsiders’. [2]
A Dramatic Message.
Revelation is a drama, an “epic,” scenes shift abruptly and are filled with “supernatural characters, marvellous events, [and] cosmic sweep,” all as if it was “stage managed” (Ryken and Longman, 1993:463). The symbols are not just to obscure the realities, they are “universal,” archetypes that are woven into “familiar folktale motifs” (Ryken and Longman, 1993:460).
The Book of Revelation uses this intense symbolic style to “dramatise the Gospel” (Bowman, 1962:58). The symbolism functions as exaggerated types of good and bad. It shows that, despite appearances, events are being “stage managed” by a sovereign God from his throne room and he has the ‘big picture’ all in hand. The result is a powerful reminder that Jesus has triumphed over death and there is a reward for the faithful martyr (Perkins, 1988:320).
This dramatic symbolism allows the readers to see who is in control behind the curtain. The use of the symbolism and the other aspects of the apocalyptic style, allow the “viewing of divine plans in relation to mundane realities” (Hanson, 1976b:29). The sovereign control of God is seen to have absolute rulership over all things.
The symbols are ideographs, corresponding to ideas and types, not pictographs or representative images. Jesus does not look like a lamb, for example (Richardson cited in Ryken and Longman, 1993:465). They are archetypes and carry “deep and enduring principles of moral, social, and religious worth” (Rowley, 1963:187).
The Prophetic Tradition.
John frequently terms his writing as prophecy, for example in 1:3, “Blessed is the one who reads the words of this prophecy” (Revelation 1:3, NIV). [3] Revelation is “saturated with the Hebrew prophetic thought-frames and symbolism” (Bowman, 1962:59). John thus places himself firmly in the tradition of the Old Testament prophets. The Revelation quotes directly from the Old Testament in some 150 passages (Bowman, 1962:59). John also draws on the Psalms as well as some of the narrative sections (Michaels, 1992:108). He is “on a par with Old Testament prophets” (Ladd, 1972:24).
Many apocalyptic writers used pseudonymity as a device to place themselves in the same tradition as prophets and writers of old, believing that this tradition went as far back as Moses himself (Russell, 1963:116). The Revelation was written most likely by John the Apostle, and pseudonymity of the Apocalypse is “rarely argued” (Carson et al, 1992:472). John, as an apostle, does not need pseudonymity allowing his extensive drawing from the Old Testament to do the work for him.
Apocalyptic literature is the product of a people alienated; it speaks “for a people who are oppressed” (Hanson, 1976b:30; Perkins, 1988:320). In the time of difficulty that the churches were facing, the reading of Revelation maintains the link with the tradition of the Fathers, yet with a new hope and future in Christ. The Day of the Lord that the prophets spoke of is coming (Isaiah 13:6; Ezekiel 30:3; Joel 3:14), and it is the Day of Jesus Christ (Revelation 22:20).
It is important to note, especially with the Revelation, that prophecy in the Old Testament was not just a “fore-telling” but also a “forth-telling” bringing support and comfort, but also warning to the people of the prophet’s own time (Baker, 1996:1038). John continues this tradition by giving “strengthening, encouragement and comfort” and the consequences of going a different way (1Corinthians 14:3; Gregg, 1997:10).
Worship the King.
The Book of Revelation was meant to be read aloud to the churches (Revelation 1:3), probably as a part of communal worship (Tavo, 2005:56). [4] A reason apocalyptic styles are used is not so much for their ambiguity but “rather for their evocative and emotive power” (Caird in Michaels, 1992:112). The sensory and visual nature of the writing (Ryken and Longman, 1993:465) may assist in worship by allowing the hearer to experience the drama of the events, to really feel the events that are happening. This would allow John’s message of encouragement and exhortations to faithfulness to have a much greater impact. [5] In the context of worship, the hearer is lifted up out of themselves into the very presence of God and can witness the hand of God at work.
Conclusion.
The symbolism in the Book of Revelation and apocalyptic literature generally, is not there to challenge us like a biblical Sherlock Holmes to unravel the mystery. It is only a thin veil that was meant to be relatively easily penetrated by those who read the letter. [6]
The symbolism is there for theological reasons. They show that the writer is a part of the tradition of prophets from the past and has a message from God for them. It shows in a dramatic way that Jesus is Lord of all things including events that have no apparent positive purpose. The dramatic message becomes a source of encouragement to believers in trials. It bolsters worship with visual imagery and a ‘mystical’ experience.
This book is much neglected in the church. When it is viewed from this perspective, the book presents a new challenge to be read as letter of encouragement and support in the worst of difficulties.
Notes
[1] It is known that Nero persecuted Christians in Rome because they were Christians (Carson et al, 1992:474). Christians may also have been subjected to attack due to problems related to Emperor worship, and tensions with Jews (Carson et al, 1992:475).
[2] Only one author suggested that the symbolism was partly for protection of the writer and the reader (Klauck, 2001:693). It cannot be totally discounted as a possible reason contributing to John’s decision to use this style over other alternatives, such as a ‘straight’ Old Testament style prophecy.
[3] Six places in all: Revelation 1:3; 19:10; 22:7, 10, 18-19 (Bowman, 1962:59).
[4] Tavo goes on to say that any theory on the structure of Revelation should reflect this. Anything too complicated would not be understood by those hearing it read out (Tavo, 2005:57).
[5] Ryken does go on to say that while it is sensory and visual, it is not pictorial. It is not very easy to get a mental picture, if you will, of many of the scenes (Ryken and Longman, 1993:465).
[6] There a discussion in Carson et al as to what genre Revelation actually is. It has been suggested that it is an “apocalypse,” a “prophecy” or an epistle. They suggest that “epistle” best fits broadly (Carson et al, 1992:479).
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